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Dressed: The History of Fashion
Dressing to Undress, an interview with Dita von Teese, part II (Dressed Classic)
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- [00:02]
April Callahan
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- [00:57]
Cassidy Zachary
Please enjoy one of our favorite episodes from the Dressed archive of over 500 plus shows.
- [01:08]
April Callahan
With over 8 billion people in the world, we all have one thing in common. Every day we all get dressed.
- [01:13]
Cassidy Zachary
Welcome to Dressed, the History of Fashion, a podcast that explores the who, what, when of why we wear. We are fashion historians and your hosts,
- [01:21]
April Callahan
Cassidy Zachary and April Callahan. Dress listeners, you are all invited to step backstage with us today as we are rejoined by the one and the only Dita Von Teese Cass. I love this so much. On Dita's Wikipedia page she is described as an American vedette, which is of course a French term. It means star featured performer. It doesn't exactly have an A1 for one English translation. The term is sort of all encompassing, so I find it to be so perfect for Dita. Most of you will probably know her as a burlesque performer and maybe a fetish model, but she's also an actress, a Runway model. She's the author of two books with another in the works currently. And in 2018 she became a chanteuse, a singer. She released her first studio album, which was produced by Sebastian Tellier.
- [02:16]
Cassidy Zachary
And if this was not enough, she is also a certifiable badass businesswoman. And over the years she's engaged in myriad of collaborations with perfume makers, fashion designers, and most notable at the moment, her vintage inspired line of lingerie, which we will chat about in the course of this episode. And in part one of this episode we discussed Dita's early love of Hollywood movies, which spawned her interest in vintage style. And we chatted a bit about her personal vintage collection. And of course we will get all the details about her ultra glamorous stage costumes.
- [02:50]
April Callahan
Yes, and when we left off chatting with Dita in episode One, she had been telling us about the amazing designers behind her stage costumes and all the tremendous work that that goes into them. She also noted that one of her signature moves is to simply create these moments of stillness between dance moves so that people can get extra good, long looks at her exquisite costumes. So, without further ado, we return to our conversation with one of our favorite vedettes. Currently in Vegas. You have a residency at the Horseshoe. Would you tell us a little bit about Dita Las Vegas? Jubilant review. Because the show itself has a little bit of a fashion history of sorts, and we would love to know about the premise of the show. And then maybe you would tell us about some of the looks featured. I think some of them are vintage costumes as well.
- [03:40]
Dita Von Teese
When I was going into the Jubilee Theater, I was a huge fan of Jubilee, which was the last great showgirl revue that ran for 40 years before it closed. I was there for, like, the closing week because it was just something so amazing and special and part of show business history that will likely never happen again when I got offered by Caesars Entertainment and Live Nation to do this show. So in the Jubilee Theater, I sat there looking at this vast stage in this crazy theater with all these things that come out of the ceilings and up out of the floor, and the stage is half the size of. You used to have between 150 and 100 dancers on stage. Okay. It was like a massive show. I knew about all these costumes that were in it, and I said, what happened to all the costumes? They said, oh, they're all, like, just locked up and archived down in the basement. And I said, can I put them in the show? And they're like, I don't see why not. We were trying to figure out what to do with them, so. So, yeah. And I was really just like, this is a pinch me moment. Right? Because what those costumes are is they were designed in the late seventies by Bob Mackie and Pete Menefee. And the costume budget in 1978, money was like $4 million.
- [04:54]
Cassidy Zachary
Whoa.
- [04:56]
Dita Von Teese
$1 million in that times, money, which you could do the math on what it would be today. A million dollars just in feathers. And that's just like the feathers arriving in crates from Paris, right? Tons of Swarovski. So you couldn't even. If you wanted to make a show like this today, you couldn't even get these. This quality of feather. And so these have, you know, been carefully preserved. And we're putting them on stage for the first time again, in a new way, you know, so the show is like a hybrid of my show, which is I' for people that don't really know me. I've been touring with my burlesque show. The last tour that I did was last year. And in historic theaters like Falai Berger, Opera, Garnier, Monte Carlo, the London Palladium, like all these big scale. It's a big scale burlesque show. So I'm kind of mixing that with the classic Vegas showgirl. But now I have just as many men in the show as women in the show. And I have showboys wearing feathers as well. And so it's a. It's a diverse and inclusive show, just like what I've been known for for the last part of my career. And yeah, and it's just like a really fun show. There's nothing like it in Las Vegas. You'll. You can't see a showgirl review anywhere else. This is the modern version with my own burlesque twist. I put all of my signature acts on stage in a new, bigger way with other performers doing many of them. And it's really. I'm really excited for people to see it because there's just, you know, you can. When you go to Vegas, it's like the showgirl's gone. It's all. It's Cirque du Soleil. There's magic shows, there's things like that. But this is a very distinctive show, a very stylish show. And I'm excited to start up again. I'm on a month hiatus. We start again February 15th, and it'll go through the year. It's select Thursday, Friday, Saturdays, and it's in the old people that don't know. The Horseshoe is the new name of what was Bally's. So it's right on the strip. It's right across from Flamingo, and it's used to be Bally's. It was the big. If you remember Vegas, you'll. You will have seen these giant billboards that have the showgirl but with feathers on it. You know, like it was these classic billboards. And so that's the Jubilee Theater. It's a really special place. The Rat Pack also performed there. So I have Frank Sinatra and Dean Martin's dressing rooms. That's amazing. My meet and greet VIP experience is back there in the Frank Sinatra rooms. It's that big classic showgirl review with the big red leather banquettes. It's, it's. There's nothing like it there.
- [07:24]
April Callahan
You have already mentioned Crazy Horse and Cassidy. Surely had to know that I was Going to ask you about this because I am obsessed with Crazy Horse. So much so that Tito. We do fashion history tours in Paris, and we've been doing them since 2021. And I have always made them on these trips, an optional activity for our travelers to go to Crazy Horse with Cass and I, and it never fails to blow them away. Last month, we just did a fashion history tour in New York City, and we had a past Paris guest join us here in New York City. And she was like, you know what? Of all that insanely amazing fashion stuff that we did when we were in Paris, I think that it was Crazy Horse. That was the thing that really was my favorite moment or was so surprising, right? So I'm saying this to you because you are one of the very few performers in the world who has ever had a guest residency there. Crazy Horse is a hallowed Parisian instance institution. It's a bot de nuit or a cabaret. So could you explain to our listeners what the Crazy Horse means to, you know, this world of cabaret? And I'm hoping that you might share a little bit about your experience performing there.
- [08:36]
Dita Von Teese
Yeah, my first trip to Paris, and it is. It's really funny when I think about it. Like, the first time I went to Paris was in the early 90s. And I remembered because I used to steal my dad's Playboys, right, when I was a kid. So I remembered seeing this tiny little picture that was maybe this big in one of those Playboys. I remembered it as naked toy soldiers, right? And then also, there's a picture of naked girls on point. So I went to Paris, and I was like, where do I see these naked soldiers or these naked ballerinas? And there, people were like, what? What? And finally somebody was like, oh, you're talking about the Crazy Horse. And I was like, okay. And so I met this person that knew the daughter of the founder of the Crazy Horse. And, you know, the founder had had. You know, he shot himself there. I'm sure you already know this, right? Crazy Horse history. But anyway, so it was still in the family's ownership. And I went there every night. I was obsessed. I was like, can I come back? And they're like, if you can come back anytime you want. Because also, at that time, it was a little like a dusty tourist relic. Every time I went, I remember being like, why is there nobody? It was all Japanese tourist men sitting there, just kind of. Kind of dead, right? Honestly. But I loved it. It was so great. So then a few years later, and I'd go every Time I went to Paris, I'd go all week. They just let me come in. They sold off. They sold it off because the siblings of the founder didn't get along and they, they, they sold it off. And the new director actually approached me. Like I went there to see it and I got like, you know, reintroduced the new people and they're like, maybe you should be the first guest star in history here. And I was like, yeah, because like, I, I didn't think I, I was too short to be there, you know, like, I didn't fit into their body type. And you know, because they all look uniform, right? Like the same body shape.
- [10:28]
April Callahan
It's staggering that they find that amount of women that have the exact same body.
- [10:34]
Dita Von Teese
Yeah. That are phenomenal dancers. I mean, they've gotten a little bit more diverse for them. Like far. There's like a little bit of variation, you know, because it used to be like you had to have these boots, you know, like really intense. It's just always been a very, how can I put it? You know, they had the scale that they would weigh girls every week. It's like all that kind of old fashioned stuff that isn't great. Then they'd have heels, different heights so that they look like they're one height. But anyway, so they're, you know, it's a, it's an amazing thing to see this. The curtains open and you're like, whoa. There's, you know, these 13 girls that all look the same. So I was the first guest star in history. And I have to say it wasn't really like easy at first because, you know, you have these girls. That show is on 365 days a year. It's on on Christmas. It's on every day, every night. And it has been since 1951. So I come in there as like the star and girls were a little bit like this. You can't even dance. Like, it was a little bit of that. And then on the opening night, and I did tons of press and interviews, opening night was like every fashion designer, every star in Paris was there. It was like a huge deal. And I remember the shady girls coming off the stage after the opening number and coming to thank me for being there. Because it was like this incredible energy that they, I didn't have in there really. And it was, it kept going and it kept going. I was there for a couple weeks and I come back again and I keep, you know, came back several times over the years. And then they had other guest stars, stars like Pam Anderson and so, you know, it just in one of the newspapers said I deserve the Legion of Honor for reviving the Crazy Horse. But it was always easy. Like I said, the girls, you know, not a fan of me when I first got there because it didn't seem fair, you know, what was I doing there? Who was I. And I. And I'm a little bit, you know, in rehearsals, I'm just like, not really a rehearsal person. I'm not good at rehearsing in front of people and do. Showing people what I can do. Process is different. So. Yeah, it's one of my favorite places in the world. I love going back there. I've created some amazing things that are still on stage there. I created some things with Ali Madhavi. He created some of the most amazing numbers there. And. And they're still on stage. So. And I. I have a little touch of one of the projections acts that I did at the Crazy Horse, which is like video mapping on the body and the clothes made out of light. And that's. There's a little bit of that in my Vegas show as well.
- [13:02]
Cassidy Zachary
Yeah. And that's one of those audible gasps in the audience every time. We saw it like twice because we were just there and we had two different groups and every night you're just like audibly stunned by that visual effect.
- [13:12]
April Callahan
Yeah. And the video mapping. The first time I was there was even longer ago. Like the video mapping, it was post you. But it's changed because there used to be an act that it was a dress almost turned into a snake and like unwrapped or unzipped around her body.
- [13:28]
Dita Von Teese
The one that was our me and Ali Madhavi's act called Undress to Kill. Yeah. Yeah.
- [13:34]
April Callahan
So, so, so beautiful.
- [13:36]
Dita Von Teese
I know they changed the. The song because we used my song, but yes, it should be the same thing with the. The red dress unzipping and the stars.
- [13:46]
Cassidy Zachary
Yeah.
- [13:47]
Dita Von Teese
But it was the first time that was used and we also used it. There was a mapping number too that had like a black lace veil and a black lace heart on the butt. And that was kind of imitated by JLo for some Grammys performance or something too.
- [14:00]
April Callahan
Things that's staggering to people is also the use of technology at Crazy Horse is very specific and it's very cutting edge. And yeah, it's just a spectacular show.
- [14:10]
Dita Von Teese
So it's a. It's a special place and I. It'll always be special to me. And one of my defining moments of my career is being the first guest star.
- [14:19]
April Callahan
Well, thank you for sharing because it's one of my special places too. So it was good to hear it from you.
- [14:25]
Dita Von Teese
An all new cabaret, like. And if you think you know what a nude cabaret is, you don't because it's incredible. You never see anything that you shouldn't see. It's like total mystery. It's in the most beautiful girls, beautiful dancers who are classically trained ballerinas or showgirls. And. And they're. It's a. It's an amazing place. And they have like a. They have their codes, you know, like the Crazy Horse codes. Their things that, you know. There's a. One of my favorite things at the Crazy Horse. Oh, there's so many. But like backstage they have this drawing of your bikini and like how your G string should go. And it needs to be a little bit lower than the pubic hair, so the pubic hair is coming out of the top. And it's like, this is how you have to wear. This is Crazy Horse style. And that and the communal shower afterwards. You know, everyone has to wear the same body makeup and they have a big communal shower. And it's straight up like they're all in there at the end of night scrubbing each other. It's like, it's like a teenage boy's like, dream. One of the girls like detail. Would you like to shower with us? And I was like, yes. I want their thing they do every night is like, help each other go out and walk some. Make pot.
- [15:38]
April Callahan
The Crazy Horse rituals.
- [15:39]
Dita Von Teese
Yeah.
- [15:46]
April Callahan
Dress listeners, spring is in the air. And this week I'm about to embark on a major wardrobe clean out. And every time I do this, it becomes quite obvious to me that I do need to replace some basics like T shirts, maybe a few pair of everyday pants, and dare I say it, unmentionables.
- [16:04]
Cassidy Zachary
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- [16:25]
April Callahan
And Cass, as you know, I am completely in love with their second skin bras and undies. The fabric is so light, sometimes I don't even realize that I'm wearing them. And I actually just ordered 12 more pair to refresh my lingerie drawer.
- [16:39]
Cassidy Zachary
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- [17:01]
April Callahan
cast today is a bit of a cold rainy day in New York City and I am happy to report that I was able to pop on my new Issey Miyake raincoat for the first time. Or maybe rather I should say new to me as I got it on the RealReal.
- [17:16]
Cassidy Zachary
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- [17:33]
April Callahan
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- [17:49]
Cassidy Zachary
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- [18:20]
Dita Von Teese
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- [18:36]
Cassidy Zachary
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- [18:41]
Dita Von Teese
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- [18:47]
April Callahan
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Dita Von Teese
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- [18:53]
April Callahan
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- [18:55]
Dita Von Teese
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- [19:00]
April Callahan
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Dita Von Teese
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- [19:07]
April Callahan
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- [19:15]
Cassidy Zachary
and I just want to remind our listeners too, and we talked about this in Our interview with Liz Goldwyn about the history of showgirls, that you're really important not just in revitalizing the crazy Horse, but revitalizing burlesque, the art form of burlesque. And really kind of bringing it into a new era for a new generation. I'm not sure if it was around the same time, but I think that was in like the early 2000s.
- [19:37]
Dita Von Teese
Yeah, I mean, I start performing in the early 90s, but 2000 was about my point where I got great mainstream recognition and burlesque force is massive now. You know, it's like an actual industry. It's crazy.
- [19:50]
Cassidy Zachary
Yeah. So burlesque is but only one of your creative endeavors. And among a few fashion related projects that bear the Dita Von Teese name is your exquisitely beautiful lingerie line. And it actually has a poignant origin story dating back to your teen years, I believe. Can you tell us a little bit about the line and this origin story?
- [20:12]
Dita Von Teese
Yeah, I mean, I worked in a lingerie shop first. Like, like when I was 15. My mother was a manicurist and she'd work. There was this mini mall area in Orange county and there was a beautiful lingerie store. And I used to just be obsessed with it. I kept like asking if I could work there. And they finally gave me a job like tagging things. And then I worked as a sales girl. And I love that job so much. I just felt like lingerie was such a, for me, a rite of passage and symbolic of womanhood and femininity and like, really, like, sure. Like I understand the power of it for seduction or whatever, but for me, it was always been. It's always been like, just like this thing I was obsessed with since I was little. Like, I used to go into my mom's lingerie. Like, what are these things that ladies wear? Are they all wearing this stuff? I just. Something about it was very fascinating to me. And I just always loved that you could, you know, have this little moment of pleasure and beauty in everyday life without taking any extra time. Like a secret underneath your clothes. Like, you could be wearing very conservative clothing, which you could be wearing something really racy or like a red bra underneath. And I think that was so interesting. And I loved working selling lingerie. I. When I think back, I, gosh, I was like a teenager selling lingerie to women and occasionally like selling lingerie to men, shopping for their wives or girlfriends or both. You know, it was kind of like intense when I look back on that, like working in lingerie. So I think, you know, I've always loved lingerie. So I started my own line about 14 years ago. 13 or 14 years ago. And it's, you know, when I first launched it it was with Target Australia and it was very like pin up and low price and I did like a big lingerie fashion show that was very inclusive, inclusive of sizing and it made a big splash and then. But we found like people wanted a little bit higher end lingerie. So then we changed the label name, went higher and higher with quality, higher with price and went into Bloomingdale's and, and Nordstrom and you know, direct to consumer. I finally have my own website with everything on there. So yeah, like just, it's just one of those examples of things that like if you. That I've always loved and it's part of my world and you know, it makes sense, you know, and I love it. I don't wear any other lingerie but my own now because I'm lingerie snob.
- [22:41]
April Callahan
I have a funny story for you because I totally identify with this. When I turned old enough to legally work. Now I had jobs before this, but when I told turned old enough to legally work. My very first job when I was 16 was working at Victoria's Secret. So I was right there alongside you slinging lingerie as a teenager. Some of the requests that we would get. I think back on it now, I'm like, no, that was not okay. But you know, I was kind of
- [23:09]
Dita Von Teese
young sometimes it was the 80s, things were different. Yeah, there's a lot of. I remember getting in trouble for like I remember a lady would called and was like, what are these charges? And I was like, I don't know.
- [23:23]
Cassidy Zachary
Oh no.
- [23:24]
Dita Von Teese
Like I was just like not equipped for that stuff. You know, it's not equipped for thing.
- [23:31]
April Callahan
Yeah, exactly.
- [23:33]
Dita Von Teese
I also came out with a line of. I didn't think about this last night. Somebody posted about it about how, how great that was. And I was like, oh, thanks. But it was, I did like a maternity bras, like beautiful maternity bras. It was so interesting because there was this point where when it first came out, some people that were enraged, like why is she telling me that I should be sexy? And I was like, wait, who told you you had to be sexy? We're talking about beautiful lingerie here. And I don't know, I don't really think about trying to be sexy for someone when I'm getting dressed in the morning and deciding to wear a pretty rock. And it opened up this whole conversation in the media and people talking about what is lingerie and what is it for and what it means to people? And it was really interesting situation where I. Wow. Yeah. Like, people will put on you what they. Their. Their issues. And it was like this. Bras weren't made to tell you to be sexy. It was just like, you know, some people nurse a long time and get tired of wearing the one they went home in the hospital wearing. So. And I was binding to do it by Destination maternity. So I was certainly like, sure, if you think that is something that your customers would want. And they did.
- [24:43]
April Callahan
We see this throughout the history of fashion that people will project onto clothing and dress all these other things. You know, in the end, it's just a collection of fibers, but yet it's political. It has to do with gender, has to do with identity, has to do with power. And it's all of our projections onto the. To the articles of dress, not. Not the. Not the pieces of clothing themselves.
- [25:06]
Cassidy Zachary
Yeah, I was gonna say that. And onto the showgirl too. Right. Historically as well, and I'm sure into today. It's like that public display of open and embrace of sexuality. Right?
- [25:17]
Dita Von Teese
Yeah. To me, I always thought, oh, like, why are people like, it's okay to have a sex tape and apologize for it, but why is it so risque to be like, I am choosing to do this with the lighting I choose, the costume, I choose, the music I choose and look but don't touch. It's very. It can be a powerful thing to own your sensuality and not apologize for it. I guess I've been considered risque for certain people. And I'm like, why you're okay with all of this, like, violence or celebrities with sex tapes and as long as you say you're sorry. I'm not sorry. You know, I'm not sorry.
- [25:55]
April Callahan
Well, everything that you do in that realm is so tasteful and so exquisitely beautiful.
- [26:00]
Dita Von Teese
I loved reading erotica when I was a teenager. Like, vintage erotica, like Anais Nin. And for me, I was always like, oh, wow, I love this painting. A picture of love, sensuality, but dressed, you know, garter belts and stockings and high heels and corsets and beautiful under things. Or like a trench coat with nothing under it. Like, I love the clothing addition to erotica.
- [26:27]
April Callahan
I would like to ask you about another something that you have obviously poured your heart and soul into, and that is your 400 page beauty book that you mentioned at the top of the episode. I have had this on my shelf for years. And listeners, this is not your generic book of Beauty tips. It's hundreds of pages, it's incredibly detailed and not just how to like achieve certain looks and plenty of drop dead gorgeous images of you, but it's also chock full of commentary on fashion and beauty history. Would you tell us a little bit about the process of making the book and a little bit of your thoughts about beauty as an art form?
- [27:06]
Dita Von Teese
Yeah, I wrote it with Rose Apodaca who is as I've known since I was 19 and she was a writer Women's Wear Daily for years. And we just, we both love beauty and fashion and vintage fashion. And so we wrote this book together and it was just, it became a way bigger book than it was supposed to be. And then I wrote my publisher and I was like, I feel like I want to do a beauty book instead of the cookbook. Because originally I did my first book, Burlesque and the Art of the Teas and Fetish and the Art of the Teas. It's like a two sided book. One's all pinup and burlesque and the other side is like fetish, the fetish realm. And so my second book ended up being the beauty book and now we're working on a third book about vintage fashion. And so we've been working on that for quite a while now. But it's like that's how slowly. Which I think is always in a way good because I feel like things come out as they should. And I feel like especially the last few years, things have changed so much. Like in even the way we speak about clothes and gender. There's a lot even, you know, I don't know, I just feel like sometimes I'm like always apologizing that my books take so long to come out. But I at the same time feel like it's good to take your time. But anyway, the beauty book, I started wearing my hair and makeup vintage style or there were tutorials or I didn't have anyone to teach to me. So I just sat there and examined photos and videos of 1930s, 40s and 50s films and movie stars and tried to figure it out. And so I put everything that I figured out in there pretty much. I spoke with people like Carmen Della Refice about her beauty, like what her beauty life has been like. So talk to different people. Like that I admire, like Suzanne Von Eichinger, who is an amazing like supermodel of the 90s, you know, has this incredible profile, like talking to people about what beauty means and how being different is it power that you have because you had something different, you know? Yeah, it's. I'm proud of the book.
- [29:09]
April Callahan
Well, whenever your vintage fashion book is out, we would love to have you back if you would like to come chat with us about that as well.
- [29:17]
Dita Von Teese
Yeah. Because I don't think there's a fashion book like it either. It's not your typical, like, hey, dress like this. It's not really an advice book. There's advice, but, yeah, it's just kind of like my world, my thoughts. When we write a book, and my writer is always like, hey, you have to remember this is your book. You need to put your opinion, even if it doesn't agree with that person's opinion.
- [29:38]
Cassidy Zachary
Yeah, absolutely. Your perspective is what we're looking for. Well, Dita, thank you so much for joining us. This has been such a treat, and especially because we're kicking off season seven in such a spectacular way. So thank you so much for being here.
- [29:51]
Dita Von Teese
Yes.
- [29:51]
April Callahan
And just for any of our listeners who want to come see you in Vegas, how much longer is the show running? You mentioned generally until the end of the year, but I didn't know if there was a hard stop date.
- [30:01]
Dita Von Teese
There's not a hard stop date. I think it's just, like, as long as we're all like. Like everyone's happy doing it. And yeah, we don't really have. We have dates through the end of the year, but see how long. Loving being in Vegas. So I love it. And I love, like, driving a car on stage every night. And I love the scene, the costumes in motion, and, you know, it's a. It's a really fun show.
- [30:26]
April Callahan
Well, sincerely, Dita, thank you so much. Again, we would love to extend the invitation to you to join us for your vintage fashion book or also, as we were chatting about before we actually started recording, if you have any mystery items in your closet that you would like for us to research, we would love to do a what's in your closet? Episode for you as well. So just let us know. We would be honored.
- [30:50]
Dita Von Teese
Yeah, maybe you can just come up for some time and go through things. Be like, what is this?
- [30:54]
April Callahan
Don't make me email you next time I'm in la. Thank you again so much.
- [31:01]
Dita Von Teese
Thank you for having me.
- [31:03]
April Callahan
Again, Dita, thank you so much for taking the time to chat with us and helping us get season seven of Dressed off to a super seductive start. You know, Cass, I thought it was really interesting in part one of this episode when Dita was describing herself as a workhorse, and she said that for the first 10 years of her career. She was running around all the time doing, doing all these multiple jobs, kind of cobbling it all together and making it work before she garnered mainstream popularity. It took a decade. And I think that this is a very good reminder for us all that no matter how glamorous someone's life might seem, that there's actually so much more work behind the scenes that led up to that perceived success. And we know here on Dress that many of our listeners are makers and academics, and as such we are definitely in a similar space a lot of the time in terms of working multiple jobs in order to create a life where we also get to pursue our passions. So I just want to give a mad shout out to all of you out there who do this for yourselves. And that includes you and I, Cass. We have both always had other jobs while we have been making the show for the last six years. You have also completed your PhD coursework, you had a baby, and I have of course been at FIT full time the entire time that we've been making Dressed.
- [32:25]
Cassidy Zachary
Yes, and this is true. And it's always been our hopes and dreams that one day Dressed will be our full time and only job. Which is why we are investing in calling this year so much more. 2024 and don't be a stranger. We always love hearing from from you. If you'd like to write to us@hello dressedhistory.com we do our very, very best to respond to you and you can always DM us on Instagram at Dressed Podcast, which is of course where we post images and reels to accompany each week's shows. And the hashtag if you want to find the content specifically linked to this week's episode, just look up the the hashtag dressed339 and dressed340. Well, I think that does it for this week. Dress listeners, may you consider incorporating something a little sentimental into your ensemble next time you get dressed. The history of fashion is a production of dressed media. The right window treatments change everything. Your sleep, your privacy, the way every room looks and feels. @blinds.com, we've spent 30 years making it surprisingly simple to get exactly what your home needs. We've covered over 25 million windows and have 50,000 five star reviews to prove we deliver. Whether you DIY it or want a pro to handle everything from measure to install, we have you covered. Real design professionals, free samples, zero pressure. Right now, get up to 45% off site wide plus get a free professional measure@blinds.com rules and restrictions apply.
- [33:59]
Dita Von Teese
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April Callahan
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